Analysis of "Embossed" Baluch Prayer Rug

Warp: Z2S, natural ivory wool; one level
Weft: Natural ivory wool, two shoots
Pile: Z2S fine wool, 2mm
Knot: Asymmetrical open to left; vertical, 16; horizontal, 11; 176 per square inch
Colors: CREAMY WHITE, pale gold, red-brown, rust, red, gray-green, bright turquoise bright purple (cotton)
Size: 2'1"x4'1"
Sides: Two cords of two warps each wrapped in red wool
Ends: 1" complete, plum and pale gold colored bands; then warp fringe
Handle: Soft, pliable, pile like velvet

The dealer's original assumption as to the origin of this rug must have been based on the color and the fact that the only pile is the design - much like a Turkmen tent band. On close inspection, however the weaving technique is clearly not that of the usual Turkmen tent bands. Instead of a Symmetrical knot tied over three warps, the technique of this "embossed" prayer rug is a standard asymmetric knot open to the left. The major colors of rust red and a characteristic gray-green seen in many Ersari rugs also speaks to placing the weaver among the Turkmens. Lastly, the devices hanging from the "tree branches" are pomegranates nearly identical in design to those on Beshir prayer rugs.

A careful look at the colors beyond the two major ones leads one to think again of a Baluch origin. There are four single knots and two small encircled crosses done in bright, synthetic turquoise cotton pile. In addition there are seven small highlights made up of six knots each of dark, but bright, synthetic cotton. The flatwoven ends are striped in bands of characteristic Baluch dark plum and pale gold.

A review of 10 other Baluch rugs in my collection revealed that nine had an asymmetric knot open left. Seven Ersari rugs all had asymmetric knots opened to the right. A further review of Black's Rugs of the Wandering Belouchi and the Adraskand book on Baluch prayer rugs indicated that 68 examples had asymmetric knots opened to the left, while only eight had these knots opened to the right. On the other hand, a compilation of the Ersari and Beshir rugs found in Mackie and Thompson and in Tzareva revealed 18 rugs with asymmetric knots open to the right, while only six has such knots open to the left. An extensive review of these and many other sources failed to find a single example of an "embossed Baluch (or Ersari) rug.

It is my opinion that this f1nely woven rug with only the design in pile of the finest wool was made by a Baluch woman as a presentation piece or gift to someone considered very important sometime between 1880 and 1920. Perhaps the detailed description of this rug will prompt further commentary on similarly "embossed" rugs with a continued discussion as to who the weaver(s) was (were).

Marvin (Amstey),

Let me give you my opinion of your rug before deciding whether to publish your article. It is in the Baluch rug group. It is a type of which production began after 1968 but was most likely woven in the mid-1970s. It is unusual. We recall seeing at least on piece woven this way. Two rugs of this group are illustrated on page 130, Hali V/2, in an article on pictorial rugs.

The border concept on your rug and the pomegranate motifs are present in these rugs. If the kilim and fringes had not been cut out in the photo, you would see a similarity there as well. The ground of these pieces is a natural white wool, sometimes of outstanding quality, and the other colors are just as in your rug. The aqua green cotton is also typical of this group of rugs. In another article on Taimani rugs, Hali IV/4, page 355, there is a rug with a pomegranate tree design, so the concept was dispersed in that area.

The reason we are so specific about the time is that this type of weaving was not available in the Kabul bazaar in 1968 but was in 1972 and thereafter. These rugs also had a tendency to crinkle when washed and it seems that a bit of this has happened with your piece. Compound weaves like this are not common.

It is a lovely rug, and its youth is of no consequence as far as publishing goes. If your dealer has a receipt showing it entered the firm's inventory in 1910, we might believe it. Until then a 1970s provenance is our opinion.

George (W. O'Bannon)

George,

Thanks for the newsy memo about the Baluch rug. I reread the Hali V/2, which I had forgotten, and agree with your assessment. As to age, I've written to London to see if the dealer can help us track down its purchase history to answer the age question with better data.

One thing I might mention is that the wool quality of the pile is excellent. It reminds me of the wool in some "Russian" Turkomen rugs of the 1920-1930s. One I remember seeing and handling was such a rug with the "Spread Eagle" gul. So now the possible range is from 1900-1975.

Nonetheless, the rug is quite attractive. If and when I hear more from London, I'll let you know.

Marvin

M.

I am starting to plan the Baluch issue now. I would be interested in your article, with suggested changes as to age, of course. If you wish to go ahead let me know. I was in Tucson in August and stopped in a shop there; card enclosed. He has a couple of Baluch runners from a slightly different weaving group than yours in the pilel/flatweave technique. I thought you might be interested in contacting him for comparisons.

G.

George,

I have heard nothing from London, but I have recently discussed the rug with a real expert on dyes and wool. All the wool is machine spun, and he believes all the dyes, including the rust-colored, seemingly madder, are artificial. I have washed the rug and all dyes are fast. I would agree that your attribution as to age and origin are correct with the added evidence that the wool (warps, weft, and pile) are machine spun. The fineness of weave at 176 knot per square inch still suggest to me that this was some kind of presentation piece.

M.